Scottish Dance Theatre choreographer Emanuel Gat on The Circle

New work presented as double bill alongside RITUALIA by Colette Sadler

‘When you go on a first date, you don’t decide beforehand how many kids you want and what their names are,’ says Emanuel Gat, explaining his choreography process. ‘You let things evolve and develop organically. I base the works on the dancers. I bring my own experience and tools for working of course, but I’m not interested in creating clones of how I move. I want to pull them out of habits they have, make them think, see what languages they use.’

The Israeli choreographer is chatting on his mobile from Paris, not long back from a fortnight in Dundee, where he was workshopping and rehearsing 12 individual dances with Scottish Dance Theatre as part of a special collaboration. His brand new work is The Circle, which will premiere in Dundee in May alongside Colette Sadler’s RITUALIA (pictured).

‘I liked the simple notion of a circle — people facing each other and having a meeting point for their energies. That’s how one piece starts. The atmospheres for the different scenes are quite different.’

Gat describes the group of 12 dancers as, ‘like a football team, all pulling together’, combining their different styles. With voluptuous, baroquely detailed costumes specially commissioned for The Circle and designed by Thomas Bradley (a young Australian dancer in Emanuel Gat Dance company) and electronic soundtrack by Squarepusher, Gat is excited to see how the elements all come together.

‘I have certain precise rules and clear aims that I want to convey to the dancers, but I still don’t like to control it. It’s a process of observing, then changing things. I really enjoy working like that, it’s a pleasure to work with hard-working dancers who know each other pretty well, but find ways to present them in a different light.’

 

Double Bill: RITUALIA & The Circle

New double bill of innovative dance performances with RITUALIA by Colette Sadler and the premiere of brand new work, The Circle, by Emanuel Gat.

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